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<h1><a href="https://archiveofourown.org/works/27226006">Ep 2.2: The Serpent's Mirror</a> by <a class='authorlink' href='https://archiveofourown.org/users/JulietSalvatore12/pseuds/JulietSalvatore12'>JulietSalvatore12</a></h1>

<table class="full">

<tr><td><b>Series:</b></td><td>ADOW season 2 [2]</td></tr>

<tr><td><b>Category:</b></td><td>A Discovery of Witches (TV), All Souls Trilogy - Deborah Harkness</td></tr>

<tr><td><b>Genre:</b></td><td>Angst and Romance, Assisted Suicide, Chess, Implied/Referenced Suicide, Might add more tags as i go, Past, Past Relationship(s), Self-Harm, Suicide Attempt, referenced miscarriage, tragic past</td></tr>

<tr><td><b>Language:</b></td><td>English</td></tr>

<tr><td><b>Status:</b></td><td>Completed</td></tr>

<tr><td><b>Published:</b></td><td>2020-10-27</td></tr>

<tr><td><b>Updated:</b></td><td>2020-11-24</td></tr>

<tr><td><b>Packaged:</b></td><td>2021-05-06 20:55:07</td></tr>

<tr><td><b>Rating:</b></td><td>Not Rated</td></tr>

<tr><td><b>Warnings:</b></td><td>Creator Chose Not To Use Archive Warnings</td></tr>

<tr><td><b>Chapters:</b></td><td>7</td></tr>

<tr><td><b>Words:</b></td><td>9,566</td></tr>

<tr><td><b>Publisher:</b></td><td>archiveofourown.org</td></tr>

<tr><td><b>Story URL:</b></td><td>https://archiveofourown.org/works/27226006</td></tr>

<tr><td><b>Author URL:</b></td><td>https://archiveofourown.org/users/JulietSalvatore12/pseuds/JulietSalvatore12</td></tr>

<tr><td><b>Summary:</b></td><td><div class="userstuff">
              <p>Matthew and Diana must face the ghosts of the past when they are summoned to Sept-Tour and they're relationship gets tested by the one and only Philippe.  A continuation of my version of a Discovery of Witches season 2, this is ep 2 of 5. </p>
<p>SPOILERS ALERT: To make this I have adapted the second book in the All Souls trilogy so if you haven't read The Shadow of Night then this fanfic will contain spoilers for the book. Some lines/scenes have been taken directly from the book and the overall plot follows that of the book.</p>
<p>DISCLAIMER: I have no association with Deb Harkness nor anyone affiliated with her or the show and this work is purely speculative.</p>
            </div></td></tr>

<tr><td><b>Relationships:</b></td><td>Diana Bishop/Matthew Clairmont, Matthew Clairmont &amp; Philippe de Clermont, Matthew Clairmont/Blanca, Matthew Clairmont/Eleanor St. Leger, Philippe de Clermont/Ysabeau de Clermont</td></tr>

<tr><td><b>Series:</b></td><td>ADOW season 2 [2]</td></tr>

<tr><td><b>Series URL:</b></td><td>https://archiveofourown.org/series/1950691</td></tr>

<tr><td><b>Comments:</b></td><td>16</td></tr>

<tr><td><b>Kudos:</b></td><td>18</td></tr>

</table>

<a name="section0001"><h2>1. Teaser</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>
  <strong>INT. OLD LODGE. RECREATION ROOM. DAY. </strong>
</p>
<p>Diana sits at the writing desk by the window. She writes in her commonplace book. </p>
<p><span class="u">DIANA (V.O.):</span> November 14th 1590.Cold.Dry. Today marks two weeks in our new home.  </p>
<p>Behind her the men make a ruckus signalling the end of the hand in their card game. </p>
<p>They reset the game.  </p>
<p><span class="u">DIANA (V.O.)(CONT'D):</span> We are never alone. W.R, C.M and H.P visit regularly... </p>
<p> </p>
<p>
  <strong>INT. OLD LODGE. MASTER BEDROOM. DAY </strong>
</p>
<p>Diana is being fitted for a new dress by a stranger. Francois is also there providing her opinion.  </p>
<p><span class="u">DIANA (V.O.)(CONT'D):</span> ...and tailors and cobblers have been commissioned to make me some new clothes. </p>
<p> </p>
<p>
  <strong>INT. OLD LODGE. ENTRANCE HALL. DAY </strong>
</p>
<p><span class="u">DIANA (V.O.)(CONT'D):</span> While my husband is happy here among his old friends, I remain a stranger to our neighbours who distrust me.</p>
<p>Pierre opens the door to the mail boy. We can hear Widow Beaton's declaration to the crowds outside. </p>
<p>The mail boy hands Pierre a closed letter. </p>
<p>Pierre gives the boy a silver coin in exchange. </p>
<p>The boy runs off.  </p>
<p> </p>
<p>
  <strong>INT. OLD LODGE. RECREATION ROOM. DAY</strong>
</p>
<p>At the bottom of her entry in the commonplace book, Diana practices writing her name with the quill. She writes 'Diana Bishop'.</p>
<p>She crosses out 'Bishop' and replaces it with 'de Clairmont.'   </p>
<p>Meanwhile Pierre walks across the room to Matthew. </p>
<p><span class="u">PIERRE:</span> A letter Monsieur. </p>
<p>Diana crosses out 'de Clairmont' and writes 'Roydon'.   </p>
<p><span class="u">WALTER:</span> Something the matter Matthew? </p>
<p>Diana looks up from her writing to turn to Matthew. </p>
<p>An ancient coin falls into his hand. She notices the worried expression on his face.  </p>
<p><span class="u">DIANA:</span> What is it Matthew? </p>
<p>Matthew looks up at her.</p>
<p><span class="u">MATTHEW:</span> Philippe has summoned us to Sept-Tour. </p>
  </div></div>
<a name="section0002"><h2>2. Act 1</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>BEGIN FLASHBACK:</p>
<p>
  <strong>INT. MILITARY FIELD HOSPITAL SHACK. POLAND. DAY. 1944. </strong>
</p>
<p>Matthew, Baldwin, Marcus, Gallowglass, Fernando and Hubbard (the latter three not yet recognisable) come rushing into the shack, carrying a large, unconscious man (Philippe). </p>
<p>THE WORDS 'WARSAW, POLAND: 1944' APPEARS ON THE SCREEN.</p>
<p><span class="u">MATTHEW:</span> Set him down, he'll need blood.</p>
<p>The men lay Philippe upon a camp bed. </p>
<p>Ysabeau is already in the room. She frantically rushes to meet them.  </p>
<p><span class="u">YSABEAU:</span> Deus. </p>
<p>She rushes to Philippe's side.</p>
<p><span class="u">YSABEAU:</span> Mon amour, peux-tu m'entendre? (My love, can you hear me?) </p>
<p>Baldwin gently places himself between Ysabeau and Philippe, a cup of blood in his hands. </p>
<p>Baldwin presses the cup to Philippe lips. </p>
<p><span class="u">BALDWIN:</span> Drink Pater. </p>
<p>Beat. Philippe is unresponsive. </p>
<p><span class="u">BALDWIN:</span> The blood won't work. He can't drink it. </p>
<p>Matthew rushes to Baldwin's side. </p>
<p>Marcus is standing unobtrusively in the background. He looks concerned. </p>
<p><span class="u">MARCUS</span>: Is he...? </p>
<p><span class="u">YSABEAU/BALDWIN/MATTHEW (sharply):</span> No! </p>
<p><span class="u">MATTHEW:</span> Perhaps it's vampire blood He needs. Mamau? </p>
<p>Ysabeau takes Baldwin's place at Philippe's side. </p>
<p>She bites into her wrist and presses it firmly to his lips. </p>
<p>No response. </p>
<p><span class="u">YSABEAU:</span> Bois mon amour! (Drink my love.) </p>
<p>She starts weeping softly. </p>
<p><span class="u">YSABEAU:</span> Ne me quitte pas. (Don't leave me.) </p>
<p>END FLASHBACK: </p>
<hr/>
<p>
  <strong>INT. OLD LODGE. MASTER BEDROOM. 1590. DAY </strong>
</p>
<p>Diana and Matthew sit beside each other on the bed. </p>
<p>Matthew worries Philippe's coin between his fingers. </p>
<p><span class="u">DIANA:</span> I don't understand. Why would your father send you a coin?</p>
<p><span class="u">MATTHEW:</span> It's his summons. Whenever Philippe wanted someone in the family to return home he would send this coin. We would have two weeks to return it in person or...</p>
<p><span class="u">DIANA:</span> Or....????</p>
<p><span class="u">MATTHEW:</span> Or he'd come find us, wherever we were. And he'd make sure it was a particularly unpleasant visit.</p>
<p>Matthew examines the envelope. </p>
<p><span class="u">MATTHEW (CONT'D):</span> I'd forgotten what his handwriting looked like. The last time I saw him he could barely hold a pen. (slight pause) I've been dreading this letter. </p>
<p><span class="u">DIANA:</span> Do you want to see him again? </p>
<p><span class="u">MATTHEW:</span> No. Yes. I don't know. </p>
<p><span class="u">DIANA:</span> We don't have to go to France.</p>
<p><span class="u">MATTHEW:</span> Well he can't come here. He's meddled too much in English politics, the Queen would have his head.</p>
<p>Pierre enters the room. He coughs delicately. </p>
<p><span class="u">MATTHEW:</span> Yes? </p>
<p><span class="u">PIERRE:</span> A local priest and magistrate have arrived wishing to speak with Madam Roydon. <br/>Matthew and Diana look at each other. </p>
<p><span class="u">MATTHEW:</span> Thank you Pierre. </p>
<p>Pierre exits. </p>
<p>Matthew returns the coin to his pocket.  </p>
<p><span class="u">DIANA:</span> We knew this was coming. </p>
<p>Matthew takes her hand. </p>
<p><span class="u">MATTHEW:</span> We'll get through this, and we'll be out of Woodstock by the end of the day I promise you. Let me do the talking and don't answer any of their questions. If they hear you speak... </p>
<p><span class="u">DIANA:</span> They'll know I'm a foreigner. </p>
<p>Matthew leans forward and kisses her on the cheek. </p>
<p><span class="u">MATTHEW:</span> I love you, ma lionne. Are you ready for this?</p>
<p><span class="u">DIANA:</span> Let's just get this over with.</p>
<p>They stand up and exit the room. </p>
<hr/>
<p>
  <strong>INT. OLD LODGE. ENTRANCE HALL. DAY. A MOMENT LATER. </strong>
</p>
<p><br/>The priest (Danforth) and solicitor (Bidwell) stand waiting. </p>
<p>Matthew and Diana appear at the top of the stairs. </p>
<p>Danforth and Bidwell both look up at them as Diana and Matthew make their way down the stairs.  </p>
<p><span class="u">DANFORTH:</span> Ah, Master Roydon. It is good to see you in such fine health. I must confess I grew concerned when I hadn't seen you at church in some weeks.</p>
<p><span class="u">MATTHEW:</span> I've been ill, Father... forgive me, I'm drawing a blank. </p>
<p><span class="u">DANFORTH:</span> Father Danforth, Sir. And this here (He indicates at Bidwell) is solicitor Bidwell, an expert in cannon law.  </p>
<p>Bidwell bows. </p>
<p><span class="u">MATTHEW:</span> What brings you here gentlemen. </p>
<p>Bidwell and Danforth look at each other. </p>
<p><span class="u">BIDWELL:</span> Regretfully sir, certain allegations have been made against your wife. </p>
<p><span class="u">MATTHEW:</span> What sort of allegations? </p>
<p><span class="u">BIDWELL:</span> There have been disturbances in the village since your wife's arrival in Woodstock. An Old Widow has recounted having fits since meeting Mistress Roydon. The Widow claims your wife cursed her and she's been ill ever since. She also complains of pains to her joints and head. There was also a young boy who died just two nights past. His parents also believe your wife to be involved. </p>
<p><span class="u">MATTHEW:</span> Widow Beaton has long suffered from rheumatism. I've paid for a physician to treat her for it on numerous occasions. As for the boy he must surely have been suffering from the same ague I was. Awful for the boy's family of course, but I don't see how my wife could possibly have been involved.  </p>
<p><span class="u">BIDWELL:</span> Nonetheless, it is my duty to investigate such allegations and take them seriously. I would be grateful if you would permit myself and Father Danforth to question your wife. </p>
<p>Matthew glances at the petrified Diana. </p>
<p>She nods her head. </p>
<p>With practiced aloofness Matthew takes a seat and gestures for Bidwell to continue.</p>
<p>Danforth approaches Diana. </p>
<p><span class="u">DANFORTH:</span> How long have you been practicing magic Mistress? From whom did you learn the craft? </p>
<p>Diana almost rebuts the implication, but she catches Matthew's eye. </p>
<p>Matthew shakes his head. </p>
<p><span class="u">MATTHEW (mouthing silently):</span> Don't.</p>
<p>Diana closes her mouth resolutely. </p>
<p><span class="u">DANFORTH:</span> How did you first come in contact the devil?  (slight pause) Did he appear to you in a dream?  (slight pause) Were you introduced by another witch perhaps? </p>
<p>Beat. Diana remains resolutely silent. </p>
<p><span class="u">MATTHEW:</span> Gentlemen it would appear that my wife does not feel disposed to answer such questions today.  </p>
<p><span class="u">BIDWELL (directed at Matthew):</span> Your wife must answer Father Danforth's questions.</p>
<p><span class="u">MATTHEW:</span> My wife mustn't do anything. These are baseless accusations. If it's evil your looking for you should look for it in Widow Beaton.</p>
<p><span class="u">DANFORTH:</span> Are you accusing her of witchcraft then?</p>
<p>Matthew rolls his eyes.</p>
<p><span class="u">MATTHEW:</span> If you have reason to charge my wife with an offense then obtain a warrant and do so.</p>
<p>Otherwise you've outstayed your welcome in my home.</p>
<p><span class="u">DANFORTH:</span> I doubt you've heard the last of this Master Roydon. </p>
<p><span class="u">MATTHEW:</span> Then I look forward to seeing the warrant. </p>
<p>Bidwell and Danforth leave. </p>
<p>Diana looks on the verge of tears. </p>
<p>Matthew rushes over to her. </p>
<p><span class="u">MATTHEW:</span> It's over now Ma Lionne. It's over. </p>
<p>Pierre! </p>
<p>Pierre steps forward. </p>
<p><span class="u">MATTHEW (CONT'D):</span> Prepare the horses. We ride out for France at nightfall.</p>
<hr/>
<p><strong>EXT. ENGLISH COUNTRYSIDE. 1590. NIGHT</strong> </p>
<p>Diana, Matthew, Walter, Kit, Henry, Pierre and Francois gallop through the countryside, escaping in the dark of night.     </p>
<hr/>
<p>
  <strong>INT. SEPT-TOUR. LIBRARY. PRESENT DAY. DAY</strong>
</p>
<p> <br/>Sarah tentatively enters the room. Her feet navigate the numerous books that have been carelessly thrown to the ground as she walks through. </p>
<p>Ysabeau stands on a library ladder at one of the book shelves, quickly flipping through books, shaking them, inspecting their covers and then discarding them over her shoulder.</p>
<p><span class="u">SARAH:</span> It's a good thing Diana isn't here. She'd be giving you a lecture on the importance of book preservation. </p>
<p>Tabitha tentatively sneaks back into the room.</p>
<p>There's a thump as Ysabeau throws another book off the shelf. </p>
<p><span class="u">SARAH:</span> What are you looking for Ysabeau? </p>
<p><span class="u">YSABEAU:</span> In the winter of 1590 I was in Germany, but my husband was here at Sept-Tour. He would have heard about Matthew's dalliance with a witch, he would have summoned them home and he would have left me word of their meeting.</p>
<p><span class="u">SARAH:</span> But these are only books, not letters.</p>
<p><span class="u">YSABEAU:</span> This letter will be in a book. </p>
<p>Tabitha has taken an interest in one of the books on the floor. She paws at the old, worn pages falling out of the book. </p>
<p>Sarah watches the cat. </p>
<p><span class="u">SARAH:</span> Oh, this is one of those alchemy books that Diana likes. </p>
<p>Ysabeau looks down.</p>
<p>Tabitha is fiddling with a slip of paper that is poking out of the spine of the book.   </p>
<p>Ysabeau jumps down to consult Tabitha's work. </p>
<p>Tabitha is clawing at the spine. She pulls out a tiny, folded sliver of paper that she successfully pierced with her claw. </p>
<p>Ysabeau picks the paper off the cat's claw. She glances at the letter. </p>
<p>Ysabeau scoops up the cat who protests as Ysabeau snuggles her and kisses her on the head. </p>
<p><span class="u">YSABEAU:</span> You clever, clever cat. You shall have fish for dinner.</p>
<p>She kisses Tabitha again before placing her down. </p>
<p>She unfurls the letter and reads it. </p>
<p><span class="u">PHILIPPE (V.O.):</span> On Christmas morning I said farewell to your son. He is happy at last, in the arms of a woman worthy of his love.<br/>From the man who will cherish your heart forevermore. Philipos.</p>
<p><span class="u">SARAH:</span> Well? What does it say? Did he see them?</p>
<p><span class="u">YSABEAU (overcome)</span>: Yes. Yes. He saw them. They're safe.</p>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff">
          <p>Hope you guys are enjoying it so far :) Please leave a kudos or a comment, they truly make my day. </p>
<p>My life is currently quite busy so it may take me slightly longer to get other chapters up compared to the first episode but they are coming so please stay tuned.</p>
        </blockquote></div></div>
<a name="section0003"><h2>3. Act 2</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Summary for the Chapter:</b><blockquote class="userstuff">
            <p>TRIGGER WARNING: Self-Harm </p><p>Read on and meet the famous Philippe! Diana and Matthew arrive at Sept-Tour and Matthew begins to be haunted by ghosts of the past.</p>
          </blockquote></div><div class="userstuff module">
    
    <p>
  <strong>EXT. BRITISH PORTS. 1590. NIGHT</strong>
</p><p><br/>The group slow their horses and dismount as they reach the port. The warmbloods are all exhausted. </p><p>Matthew lifts Diana, who is half-asleep, out of her saddle. </p><p>He keeps one arm wrapped around her as he sets her on her feet. </p><p>Pierre and Francoise are leading the Roydon horses away towards the ships. </p><p><span class="u">MATTHEW:</span> Will the three of you be heading back to London then? </p><p><span class="u">WALTER:</span> We'll stay here for the night to rest and then continue on to London tomorrow.  </p><p><span class="u">MATTHEW:</span> I still say it was mighty way for you to travel to see us off. </p><p><span class="u">HENRY</span>: We couldn't justify your leaving without wishing you a proper farewell. </p><p><span class="u">WALTER:</span> Yes, bon voyage Roydons. And it was pleasure to meet you Diana. </p><p>Walter and Henry both bow to the couple. </p><p>Kit offers Matthew a bow. </p><p><span class="u">KIT:</span> Farewell Matthew.  </p><p>He gives Diana a curt nod. </p><p><span class="u">KIT</span>: Mistress. </p><p>The three of them lead their horses away. </p><p>Diana and Matthew make their way towards one of the ships where a wild Scotsman (Gallowglass) is waiting for them. A true sailor, Gallowglass is perfectly at home aboard the ship.  </p><p><span class="u">GALLOWGLASS:</span> It's good to see you alive Uncle. </p><p><span class="u">DIANA:</span> Uncle? Are you Baldwin's son. </p><p><span class="u">GALLOWGLASS:</span> Baldwin? 'Ack, no. Hugh de Clairmont was my maker. </p><p><span class="u">DIANA:</span> Hugh? </p><p><span class="u">MATTHEW:</span> My brother, he died a long time ago. (to Gallowglass) Why wouldn't I be alive, Gallowglass?</p><p><span class="u">GALLOWGLASS:</span> Well Fernando and I started to worry when you didn't meet us in Chester as planned. We asked the innkeep and he said you'd been sitting by the fire drinking his finest wine the one minute and the next you had vanished. He was insisting you'd been taken by ghosts. To be fair it was All Hollows Eve so his story did make a sort of sense.   </p><p>Diana and Matthew board the ship.</p><p>Gallowglass assesses Diana.   </p><p><span class="u">GALLOWGLASS:</span> This is the time-spinner then? </p><p><span class="u">DIANA:</span> My name's Diana. </p><p>MATTHEW: We need to set sail now if we're ever to reach Sept-Tour on time. </p><p><span class="u">GALLOWGLASS:</span> Right away then. No time for chit chat. </p><p>Gallowglass sets about getting the ship moving. </p><p><span class="u">GALLOWGLASS (shouting to crewmen):</span> Anchors up lads! </p><hr/><p>
  <strong>EXT. GALLOWGLASS'S SHIP. MIDDLE OF THE ENGLISH CHANNEL. NIGHT. </strong>
</p><p><br/>Diana is looking over the side of the ship at the horizon, hugging herself from the cold. It's quite. Peaceful.  </p><p>Matthew walks over to her. </p><p>He shrugs off his own cloak, laying it over her shoulders. </p><p>He wraps his arms around her. </p><p>They are silent for a moment. </p><p><span class="u">DIANA:</span> Do you know what my greatest fear was when I was growing up?</p><p><span class="u">MATTHEW</span>: No. Tell me. </p><p><span class="u">DIANA:</span> I feared that the humans would discover we were witches and start hunting us. I had these really vivid nightmares where our neighbors would come to our home in the middle of the night, hoard Sarah, Em and me outside towards wooden pyres and burn us alive. I even had panic attacks in the middle of class when we starting learning about the Salem witch trials. My nightmare nearly became real in Woodstock. </p><p>He turns her around in his arms. </p><p><span class="u">MATTHEW:</span> I'm so sorry Diana. Our time in the past isn't exactly going as planned. I had no idea that the hysteria existed this far South. </p><p><span class="u">DIANA:</span> But I did. I told you exactly how Widow Beaton was going to react and you ignored me.</p><p>She slips out of his arms. </p><p><span class="u">DIANA:</span> Would you ever have told me about your life here? About being on the congregation? Being</p><p>Elizabeth's spy while witches were being burned in Scotland? </p><p><span class="u">MATTHEW:</span> Working for Elizabeth and being on the congregation were suppose to help. Not be hindrances. I thought this was going to be simpler. I had expected that we could find the book of life in Oxford and find a witch to train you and be back in the 21st century in a few weeks. It was ignorant of me I admit.</p><p>Beat. </p><p>Diana looks back out over the ocean. </p><p><span class="u">DIANA:</span> How much longer until we reach France?</p><p><span class="u">MATTHEW:</span> We'll arrive in another hour or two I suspect.</p><p><span class="u">DIANA:</span> I think I need some rest before we do.</p><p>Diana walks past Matthew.</p><p><span class="u">MATTHEW:</span> Diana!</p><p>Diana ignores him. She goes below deck. </p><p>Matthew stares after her. </p><p>Gallowglass at the helm looks between the two of them. </p><p><span class="u">GALLOWGLASS:</span> I'm sure she just needs a moment to compose herself. You should leave her be uncle.</p><p><span class="u">MATTHEW:</span> Why does everyone feel the need to tell me how to manage my own wife?</p><p><span class="u">GALLOWGLASS:</span> I couldn't say. She does remind me of Granny though. We're always giving Philippe advice about how best to handle her. Not that he listens.</p><hr/><p>
  <strong>EXT. SEPT-TOUR. FRONT GATES. 1590. DUSK. </strong>
</p><p><br/>Matthew, Diana, Gallowglass and Pierre ride through the open gates into the chateau's courtyard. </p><p>Diana, Pierre and Matthew dismount. Pierre takes hold of the horses and leads them off towards the stables. </p><p>Gallowglass remains atop his horse. </p><p>A middle-ages man uniformed in livery adorned with Philippe's seal (Alain) approaches Matthew. </p><p>Matthew hands Alain his riding cloak, which Alain drapes over his arm. </p><p><span class="u">ALAIN:</span> 'Tis good to see you again monsieur.  </p><p>Matthew removes his riding gloves and gives them to Alain. </p><p><span class="u">MATTHEW:</span> Alain. What kind of mood is he in?</p><p><span class="u">ALAIN:</span> Same as ever Monsieur, I wouldn't bait him.</p><p><span class="u">MATTHEW:</span> Hmmm. Meet my wife Diana. </p><p>Alain bows to Diana. </p><p><span class="u">ALAIN:</span> Mistress. Sieur is eager to meet you. He awaits both of you in his office.</p><p>Matthew looks back at Gallowglass, still on horseback. </p><p><span class="u">MATTHEW:</span> Will you not come in? He'll ask for you. </p><p>Gallowglass shakes his head.  </p><p><span class="u">GALLOWGLASS:</span> You can tell him I've not yet succeeded in forgetting. </p><p><span class="u">MATTHEW:</span> It's been almost a century since Hugh died Gallowglass, and your grandfather may not be with us forever. You shouldn't squander your time with him. </p><p><span class="u">GALLOWGLASS:</span> I think I'll ponder that wisdom from the village inn. </p><p>Gallowglass turns his horse and exits through the front gates. </p><p><span class="u">ALAIN:</span> Are you ready Monsieur? </p><p>Diana and Matthew look at each other. </p><p>She reaches her hand out to Matthew to comfort him, just as he walks off towards the Chateau. </p><p>Alain and Diana follow after him. </p><hr/><p>
  <strong>INT. SEPT-TOUR. HALLWAY. MOMENTS LATER</strong>
</p><p>Alain leads Diana and Matthew towards the door to Philippe's office. </p><p>Alain knocks thrice on the door. </p><p><span class="u">PHILIPPE (O.S.):</span> Introite. (Enter.) </p><p>Alain opens the door and steps aside.</p><p>
  <strong>INT. SEPT-TOUR. PHILIPPE'S OFFICE. </strong>
</p><p>The room is a comfortable but crowded office, the domain of a proudly overworked man complete with a burning fireplace, overused bookcases and a writing desk with two armchairs seated opposite. Philippe himself is an imposing figure. He's seated behind his overcrowded desk working one of the numerous letters he has ongoing. The desk is situated so that he faces the open door. </p><p>Matthew and Diana enter. Alain closes the door behind them.  </p><p>Philippe does not look up but keeps working on his letter. We can hear the scratching of his quill.</p><p>Matthew looks to have seen a ghost. </p><p><strong>BEGIN FLASHBACK:</strong><br/><strong>INT. SEPT-TOUR. PHILIPPE'S OFFICE. CIRCA 1944.</strong> </p><p>A small flood of blood covers the floor. </p><p>Matthew creaks the door open and cautiously steps into the room, head down observing the flood.  </p><p>He lifts his head. </p><p>Philippe is kneeling, crouched over, in the middle of the room. He shakes terribly, blade poised over his right wrist. </p><p>Philippe slashes the blade down across the wrists. He cries out. </p><p><span class="u">MATTHEW:</span> NO! </p><p>Matthew rushes to his side. </p><p>He pulls the blade from Philippe's hand. </p><p>He inspects the wound. It is shallow and already healing over. </p><p>Matthew pulls up Philippe's sleeve to reveal multiple similar marks along the arm.   </p><p>Philippe wails.   </p><p><span class="u">PHILIPPE (sobbing):</span> I can't do it. I can't do it Matthew. You have to help me. </p><p>Matthew looks up at him shocked. </p><p>
  <strong>END FLASHBACK: </strong>
</p><p>
  <strong>INT. SEPT-TOUR. PHILIPPE'S OFFICE. 1590</strong>
</p><p>Philippe does not look up at Diana and Matthew. </p><p><span class="u">PHILIPPE:</span> Sedete. (Sit) </p><p>Diana takes Matthew hand and leads him to the armchairs opposite Philippe. Diana sits in the right one, Matthew in the left. </p><p>Philippe continues to write his letter without acknowledging them.  </p><p>Long Pause. </p><p>Philippe finishes his letter with a flourish. </p><p>He puts down his quill and looks up at his guests. </p><p>He surveys Matthew </p><p>He turns to Diana, weighing her up with his gaze. </p><p>He finally settles his severe gaze on Matthew. </p><p><span class="u">PHILIPPE:</span> Explain yourself.</p><p>Matthew composes himself. He flicks the coin onto Philippe's desk.</p><p><span class="u">MATTHEW:</span> You commanded me to Sept-Tour and here I am, alive and well.</p><p><span class="u">PHILIPPE:</span> I don't remember extending the invitation to the witch.</p><p><span class="u">MATTHEW:</span> Diana is my wife!</p><p><span class="u">PHILIPPE:</span> Stand down Matthew.</p><p>Matthew shrinks back into his seat, glaring. </p><p><span class="u">DIANA:</span> You are right. I am a witch. More than that, I'm a witch in need of your protection.</p><p><span class="u">PHILIPPE:</span> Is that so?</p><p>Philippe raises an eyebrow at her. </p><p>Matthew gives a warning glare to Diana. </p><p>She ignores them.  </p><p><span class="u">DIANA:</span> It is.</p><p><span class="u">PHILIPPE:</span> Very well. What is it I can do for you Diana?</p><p><span class="u">DIANA:</span> I'm a time-walker from the year 2018, where I work at a university and study the history of alchemy.  </p><p>Philippe nods at this. It was confirmation of what he had already expected.</p><p><span class="u">PHILIPPE:</span> Fileur a temps. Yes I did suspect as much. I've met your kind before and your scent is quite...odd. In any case the Matthew I knew would never have taken up with a witch so the times must have changed him quite drastically. </p><p>Philippe's teasing smile fades into a frown. </p><p><span class="u">PHILIPPE (CONT'D):</span> He also had a beard. </p><p>Matthew rolls his eyes. </p><p><span class="u">DIANA:</span> Walter and Kit were teasing him about that but I don't know a spell to fix it. </p><p><span class="u">PHILIPPE</span>: Nevermind that. I'm glad we can expect a more sensible attitude to shaving in the future. Please continue.  </p><hr/><p>
  <strong>INT. SEPT-TOUR. PHILIPPE'S OFFICE. MOMENTS LATER</strong>
</p><p>PHILIPPE: You have a talent for relaying complicated information quickly and succinctly madam. It would be a service to the family if you could share the gift with your husband. We spend far more than we should on paper and quills.</p><p>He flashes a teasing grin at Matthew who does not return it.</p><p><span class="u">PHILIPPE:</span> I say husband, but you two are not married are you? Nor even betrothed.</p><p><span class="u">MATTHEW:</span> Not in the conventional sense. No. </p><p><span class="u">PHILIPPE:</span> Not in any sense.</p><p><span class="u">MATTHEW:</span> Will you give Diana your protection?</p><p><span class="u">PHILIPPE:</span> I protect other vampires, not witches.</p><p><span class="u">MATTHEW (irritably):</span> Perhaps it's time you took a more expansive view.</p><p><span class="u">PHILIPPE</span>: Why should I? This woman means nothing to me or our family.</p><p><span class="u">MATTHEW:</span> Because I love her!</p><p><span class="u">PHILIPPE:</span> Yet you bring her here, to a time when creatures are in fear for their lives and her powers are almost certain to land her in further danger. That doesn't feel particularly loving. <br/>What if your mother were here? You know how she despises witches. She would have torn this woman apart.</p><p><span class="u">MATTHEW:</span> I've never asked you for anything Philippe. Not until now.</p><p><span class="u">PHILIPPE:</span> You should have foreseen my response. Your problems don't belong here. Return home to your own time. Seek my advice there.</p><p>Matthew's hope deflates. His hand clenches against the armrest.  </p><p>Diana looks at him. Sad and resigned she turns back to Philippe.  </p><p><span class="u">DIANA:</span> I understand Monsieur. I would be grateful, though, if Matthew and I could stay the night here at least. It's been a very long journey and Matthew and I could both use some rest. </p><p>Diana reaches out with her left hand to touch Matthew's clenched fist, unintentionally providing an excellent view of Ysabeau's ring on her wedding finger. </p><p>There's a flurry of confused, vampiric movement: </p><p>Philippe grabs Diana's hand. </p><p>Matthew rushes behind Philippe to grasp him by the shoulders, trying to pull him back from Diana. </p><p><span class="u">PHILIPPE:</span> Where did you get this ring?</p><p><span class="u">DIANA:</span> Ysabeau gave it me.</p><p><span class="u">PHILIPPE:</span> YOU'RE LYING! She never would have given this away. Not while we both lived.</p><p><span class="u">MATTHEW:</span> She lives Philippe.</p><p>Beat. </p><p>Realisation hits Philippe. He softens.  </p><p><span class="u">PHILIPPE:</span> Ah, I see. (pause) You cannot seek my advice in your own time. Can you? </p><p><span class="u">DIANA (sadly):</span> No. </p><p>Philippe nods absentmindedly. </p><p>Philippe moves Diana's hand slightly from side to side, wistfully watching the light bounce off the diamond.</p><p><span class="u">PHILIPPE:</span> Ysabeau gave my ring to a witch. How extraordinary. </p><p><span class="u">MATTHEW:</span> Let her go Philippe. </p><p>With a sigh, Philippe releases her hand. </p><p>Matthew returns to his seat. </p><p><span class="u">PHILIPPE</span>: I can offer you my protection for the time being. Is that what you would like Madam?</p><p><span class="u">DIANA:</span> Yes. I would be very grateful.</p><p><span class="u">PHILIPPE:</span> Very well. I can ensure your safety while you stay at Sept-Tour and learn our ways. </p><p>The relief is palpable. </p><p><span class="u">MATTHEW:</span> Thank you father. We will leave you to your letters and see you in the morning.<br/>Matthew and Diana stand up.</p><p><span class="u">PHILIPPE:</span> Oh No. No absolutely not. The witch will not be sharing a bed with you.</p><p>Matthew and Diana both look at each other, confused. </p><p><span class="u">PHILIPPE (CONT'D):</span> Diana is an unmarried woman under my protection. I may not know how things work in your world but I could hardly allow her spend with the night with a male vampire infamous for his impulsivity.</p><p><span class="u">MATTHEW:</span> You're being ridiculous. </p><p><span class="u">PHILIPPE:</span> Am I? Need I remind you what happened to the last woman you told me you loved.</p><p>Philippe turns to Diana. </p><p><span class="u">PHILIPPE:</span> As an honoured guest in my home Diana you may have my step-daughter's chambers. She's currently in Vienna. Or Venice. Lord knows I can't keep up with that girl. Her rooms are just down the hall from my own. I can personally assure your safety there.</p><p>Philippe stands up and starts walking to the door. </p><p><span class="u">MATTHEW:</span> Diana is more than an honoured guest. Ysabeau has accepted her as her daughter.</p><p><span class="u">PHILIPPE:</span> Yes. Well, your mother has never been capable of holding you accountable for your actions.</p><p>Philippe opens the large wooden door of his office and pokes his head out.</p><p><span class="u">PHILIPPE:</span> Alain!</p><p>Alain appears in the doorway.</p><p><span class="u">PHILIPPE:</span> Please show Madam Diana to Louisa's room and ensure that she is well taken care of.</p><p>Alain bows.</p><p><span class="u">PHILIPPE:</span> That will be all Diana. Sleep well. </p><p><span class="u">DIANA:</span> Thank you Monsieur. I am very grateful. </p><p>Diana gives a slight bob of a curtsy. </p><p>Alain leads her out of the office. </p><p>Philippe turns to Matthew. </p><p><span class="u">PHILIPPE:</span> I've been struck by the sudden desire to play chess. Come Matthew, let's have a game.</p><hr/><p>
  <strong>INT. SEPT-TOUR. LOUISA'S BEDROOM. MOMENTS LATER</strong>
</p><p><br/>Alain holds the door open while Diana enters the luxurious and decadent bedroom. It is a brightly coloured room with an abundance of cushions. </p><p>A human maid (Catrine) is already there preparing a fire. Her hair is tied back in a bun and she is smiling. She stands and curtsies to Diana. </p><p>As she stands, Diana notices the bite mark on the side of her neck. </p><p>Diana walks over to her, gesturing towards the neck. </p><p><span class="u">DIANA:</span> Did Louisa do this to you? </p><p><span class="u">CATRINE:</span> Oh, Qui Madam. Her and Monsieur Matthew. Are you hungry Madam? </p><p>Catrine gestures towards her own neck in offering. </p><p>Diana fights a knee-jerk repulsion.</p><p><span class="u">DIANA:</span> No. No I'm not a vampire. </p><p><span class="u">CATRINE:</span> Oh. Qui Madam. </p><p>Still smiling Catrine curtsies again and exits. </p><p>Diana watches her leave with a frown. </p>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff">
          <p>This one was a long one guys! I hoped you enjoyed reading about Philippe, he's my favourite character and I hope I've done him justice. </p><p>Please leave a kudos or a comment, I truely love hearing your feedback and thoughts. What did you think of Philippe?</p>
        </blockquote></div></div>
<a name="section0004"><h2>4. Act 3</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Summary for the Chapter:</b><blockquote class="userstuff">
            <p>Read on for flashbacks and marital disputes!</p>
          </blockquote></div><div class="userstuff module">
    
    <p>
  <strong>INT. SEPT-TOUR. LARGE SOLAR. NIGHT. 1590 </strong>
</p><p>Similar to the recreation room at the Old Lodge, this is a small private room dedicate to a similar purpose as the modern day lounge room. </p><p>Matthew and Philippe sit opposite each other at a chess board. </p><p>Matthew watches Philippe make his move. </p><p>
  <strong>BEGIN FLASHBACK:</strong>
  <br/>
  <strong>INT. SEPT-TOUR. LOUNGE ROOM. DAY. CIRCA 1944</strong>
</p><p>Matthew and Philippe sit opposite each other at a chess board. </p><p>Philippe stares blankly at the board. Meanwhile, Matthew takes one of Philippe's pieces with his knight. </p><p>Matthew waits for Philippe to make his move. </p><p>Philippe does not move a muscle. </p><p>Matthew looks over his shoulder at Ysabeau who is surreptitiously watching from the doorway. </p><p>They share a concerned look. </p><p>Matthew turns back to Philippe. </p><p><span class="u">MATTHEW:</span> It's your move Philippe. </p><p>Philippe glazes his eyes over the board. He hasn't moved many and most of his remaining pieces are secure. His King and Queen are well protected.  </p><p>Philippe raises a single, violently shaking finger to push over his own King.</p><p>The King knocks over several other pieces on the way down.</p><p>Philippe turns to stare blankly at the wall. </p><p>Ysabeau leaves the room, holding back tears.</p><p>
  <strong>END FLASHBACK:</strong>
</p><p>
  <strong>INT.SEPT-TOUR. LARGE SOLAR. NIGHT. 1590 </strong>
</p><p>Matthew is staring at Philippe. His fingers tapping restless against the table.  </p><p><span class="u">PHILIPPE:</span> It's your move Matthew.</p><p>Matthew makes a clumsy move with his bishop. </p><p>Philippe raises an eyebrow. </p><p>He completes his own move, taking Matthew's bishop. </p><p><span class="u">PHILIPPE:</span> That was clumsy, even by your standards. Why so sullen Matthew?   </p><p>Matthew huffs at the board, his restless fingers increasing their tempo as he contemplates his next move.</p><p>His answer is truthful but inaccurate. </p><p><span class="u">MATTHEW:</span> This enforced separation is maddening. Diana would be safer with me. </p><p>Philippe laughs. </p><p><span class="u">PHILIPPE</span>: Is that what's bothering you? That I wouldn't let you lay with the witch?</p><p>Matthew makes his move. </p><p><span class="u">MATTHEW:</span> You've never cared who I brought to my rooms before.</p><p><span class="u">PHILIPPE:</span> None of those women were under my protection.</p><p><span class="u">MATTHEW:</span> Diana isn't familiar with that section of the castle nor the people in it. She would be more comfortable in my tower, with me.</p><p>Philippe makes his move. </p><p><span class="u">PHILIPPE:</span> You think too highly of yourself Matthias. Louisa's is the most comfortable bed in the house, she made sure of it. I have Alain, a vampire older and stronger than you, stationed outside and a maidservant is in the room with her to attend to her every need. Your witch will be perfectly safe and content I assure you. I've given her my word that I would protect her have I not? You have no cause for such anxieties.</p><p><span class="u">MATTHEW:</span> She is my mate!</p><p><span class="u">PHILIPPE:</span> She is not. Not now, possibly not ever.</p><p>Matthew leaves abruptly. </p><p>Philippe stares after him exasperated, as if Matthew were a stubborn teenager. </p><hr/><p>
  <strong>INT. SEPT-TOUR. LOUSIA'S ROOM. MOMENTS LATER</strong>
</p><p><br/>Matthew bursts through the door as Diana is getting ready for bed. Alain follows him protesting. </p><p>The maids gasp at the intrusion. </p><p><span class="u">MATTHEW:</span> Get Out! </p><p><span class="u">ALAIN:</span> Monsieur! </p><p><span class="u">MATTHEW:</span> GET OUT! </p><p>The maids and Alain scurry. The door closes behind them. </p><p><span class="u">MATTHEW:</span> Alright. I've returned that damn coin and fulfilled my act of filial piety. We'll stay tonight so that you can get some sleep but we're leaving first thing in the morning.</p><p><span class="u">DIANA:</span> To go where? We can't go back to Woodstock.</p><p><span class="u">MATTHEW</span>: London then. The city is big enough that no one should notice the arrival of another immigrant and there are plenty of witches there who can help you.</p><p>Diana is unconvinced. </p><p><span class="u">MATTHEW (CONT'D):</span> ...Or Italy, if you don't feel comfortable in England. I have a house in Milan, we can stay there for Christmas. </p><p>Diana braces for an argument. She takes to her feet.  </p><p><span class="u">DIANA:</span> Matthew, there's nowhere we can go where I won't be the object of curiosity. I think we have to stay at Sept-Tour, at least for a little while. Until I'm able to walk into a room or open my mouth to speak without drawing attention to myself. I have to be able to manage in the past on my own. I can't continue being this dependent on you.</p><p>Matthew groans. </p><p><span class="u">DIANA (CONT'D):</span> We may have to put up with your father and his rules here but at least we're safe. And I can rely on Philippe's protection.</p><p>Matthew stares at her in shocked, genuine insult. </p><p><span class="u">MATTHEW:</span> <em>I</em> will protect you.</p><p>Diana sighs. </p><p><span class="u">DIANA:</span> Matthew, I know that this is frustrating, believe me....</p><p><span class="u">MATTHEW:</span> No you don't. The last time I saw my father he was broken and dying. I don't want to be here Diana.</p><p><span class="u">DIANA:</span> If you're hurting I wish you'd talk to me. It might help.</p><p><span class="u">MATTHEW (sarcastically):</span> I'm sorry. Are my wounds not healing as quickly as you'd hoped?  </p><p><span class="u">DIANA:</span> Matthew, I'm exhausted. Can we talk about this tomorrow?</p><p><span class="u">MATTHEW:</span> Fine.</p><p>Matthew walks towards the door. Before he leaves the room he adds:</p><p><span class="u">MATTHEW:</span> One day. No longer. </p><p>Matthew exits. </p><hr/><p>
  <strong>INT. SEPT-TOUR. MATTHEWS BEDROOM. MOMENTS LATER</strong>
</p><p>Matthew storms in, slamming the door behind him. </p><p>Seemingly discontented with that small amount of violence Matthew continues to smash various objects within his reach (chest of clothes, candlestick holders etc). </p><p>Finally he knocks over a writing desk causing its contents to spill out including a wooden toy block. </p><p>Matthew nearly continues his rampage, but sees the wooden block and stops. He's breathing heavily as he looks at it. </p><p>Matthew picks it up. </p><p>He turns it over to reveal the 'L' engraved onto the bottom of the block. </p><p>
  <strong>BEGIN FLASHBACK:</strong>
  <br/>
  <strong>INT. STONE TOWNHOUSE. CIRCA 533 A.D. </strong>
</p><p>A small, blonde boy, probably about a year old (Lucas) is sitting on the floor with an assortment of wooden building blocks in front of him.</p><p>Matthew, sitting in a spindly chair behind his son finishes carving the 'L' to the bottom of another wooden block.   </p><p>Matthew smiles at his work. He goes and lies on his stomach beside his son.</p><p>He presents Lucas with the new block. </p><p>The play together, Lucas placing the blocks atop each other in a sort of structure and Matthew applauding him. </p><p>
  <strong>END FLASHBACK:</strong>
</p><p>
  <strong>INT. SEPT-TOUR. MATTHEW'S BEDROOM. </strong>
</p><p>Matthew, now calm and quiet, flops onto the bed on his back, holding the block up before him to better examine it.</p><hr/><p>
  <strong>INT. SEPT-TOURS. LOUSIA'S BEDROOM. NIGHT</strong>
</p><p>Diana is engulfed by the soft mattress and pillows. She is awake, staring at the roof of the canopy bed. </p><p>Giving up on sleep, she navigates her way out of the bed.</p><p>Catrine is sleeping on a mat on the floor of the room. </p><p>Moonlight is streaming through the window. </p><p>Diana takes a candle from the bedside table. </p><p>She brings it to the window seat, so she can see better in the moonlight. She places the candle down. </p><p>Diana concentrates, taking a deep breath.</p><p>She raises her hand and recites the incantation. </p><p>Her eyes flutter shut as she concentrates, continuing her spell. </p><p>A large flame erupts, engulfing the draped curtains quickly. A fire ensues.</p><p><span class="u">DIANA:</span> Shit! </p><p>Catrine is jolted awake. </p><p>Alain quickly rushes into the room. </p><p><span class="u">ALAIN</span>: Madam! </p><p>He rushes forward to pat out the fire. </p><p>Diana looks on guiltily. </p>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff">
          <p>I wanted to thank you all for reading on this far, it's been awesome to write and I love hearing all of your kind comments and feedbacks so please do continue to leave kudos and comments :) I really hope you guys are enjoying it.</p>
        </blockquote></div></div>
<a name="section0005"><h2>5. Act 4</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>
  <strong>INT. SEPT-TOUR. BREAKFAST ROOM. 1590. MORNING</strong>
</p><p><br/>Diana sits at the head of the table eating her breakfast of a soft boiled egg and toast.<br/>Matthew sits a few seats down from her.</p><p><span class="u">DIANA (voice slowly fading away):</span> I've asked Alain and Pierre to show me around, to help give me a better idea of how life works in the 16th century. We'll probably start in the kitchens. Apparently the staff there are busy preparing for the Christmas season. Plus Philippe thinks that introducing myself to strangers is the best way to learn how to behave like an Elizabethan woman. If he's right I may be ready for us to move back to England just after Christmas. I promise I don't want to keep you here any longer than necessary.</p><p>Matthew isn't listening. He's looking down at the wooden block he's holding in hands beneath the table, obscured from Diana's view.</p><p><span class="u">DIANA (at normal volume):</span> Matthew? Matthew are you listening to me?</p><p>Matthew looks up at Diana. </p><p><span class="u">MATTHEW:</span> I'll be out for the day.</p><p><span class="u">DIANA:</span> What? Why?</p><p><span class="u">MATTHEW:</span> There's a university in the neighboring city. It's as good a place as any to start inquiring about the Ashmole book. I'll pay it a visit today.</p><p><span class="u">DIANA:</span> Ok. It's a good idea. Just give me a few minutes to finish breakfast and I can come with you.</p><p>Matthew's already standing up to leave. </p><p><span class="u">MATTHEW:</span> No. I'll be quicker alone. Besides, I'm sure Philippe can keep you entertained.</p><p>Diana is speechless at the sharp remark. </p><p>Matthew leaves the room. </p><hr/><p>
  <strong>INT. SEPT-TOURS. KITCHEN. 1590. LATER</strong>
</p><p><br/>The busy kitchen's are well lit by the sunlight that streams through the windows. Staff are preparing food.  </p><p>Diana walks through the bustling rooms, led by Alain and followed by Pierre. </p><p><span class="u">ALAIN:</span> As the most senior lady of the family present it would generally be your duty to ensure that the Yultide preparations and household accounts are well managed of course.  </p><p><span class="u">DIANA:</span> I see. What preparations are in order?</p><p><span class="u">ALAIN:</span> The kitchen staff are preparing feasts for the upcoming week. 'Tis important that everyone be well fed now before the Christmas fast begins. </p><p><span class="u">DIANA:</span> Do the vampires fast as well? </p><p><span class="u">PIERRE:</span> Not all of us. Sieur Philippe does not necessarily encourage it, but Monsieur Matthew insists upon it as a matter of faith you see. </p><p><span class="u">ALAIN:</span> Monsieur Matthew is a difficult eater at the best of times. He has shrunk to a skeleton it seems since he has moved to England.</p><p>Alain casts an accusing eye at Pierre. </p><p><span class="u">PIERRE:</span> I did my best Alain, but you know how he can be.    </p><p><span class="u">DIANA:</span> He'll eat uncooked meats and fish will he not? </p><p><span class="u">PIERRE:</span> Aye but Madam, Monsieur needs blood to be nourished. Come, see. </p><p>Pierre leads Diana through the bustling rooms into a back pantry. </p><p> </p><p>
  <strong>INT. SEPT-TOURS. BUTCHERS PANTRY. </strong>
</p><p>The room is lit via the singular window at the back of the room. The room is full of circular tables laid with goblets of various materials, all filled with various forms of blood.</p><p>Diana cuddles herself against the chill of the room.</p><p>Pierre retrieves a silver goblet and brings it to Diana. </p><p><span class="u">PIERRE:</span> Monsieur prefers Stag's blood, the taste is similar to humans, but he will only drink it if it is prepared just so; in a silver goblet so as not to dilute the blood.   </p><p>Diana examines the thick red liquid. </p><p><span class="u">DIANA:</span> May I? </p><p>Pierre looks uncertainly at Alain who returns the look. </p><p><span class="u">PIERRE:</span> Ah...Madam perhaps who should continue and talk to chef who can explain... </p><p>Diana dips the tip of her finger into the blood and tastes it. </p><p>She frowns at the bitter taste and shakes her head. </p><p><span class="u">DIANA:</span> Of course Pierre, we should continue. What is chef's Christian name? </p><p>Pierre sets the goblet aside again. </p><p><span class="u">ALAIN:</span> I am not sure Madam. He is in charge so we call him chef. Christian names are not so commonly used here.   </p><p>The trio make their exit. </p><p><span class="u">DIANA:</span> How should I refer to Monsieur Philippe then? </p><p><span class="u">ALAIN:</span> Everyone in the Chateau calls him either Father or Sieur.  </p><hr/><p>
  <strong>INT. SEPT-TOUR. HALLWAY. SOME TIME LATER.</strong>
</p><p><br/>Diana walks down the hallway. She comes to a stop at the spiral staircase that leads up to Matthew's tower.</p><p>She looks up at it curiously. </p><p>She looks around, ensuring she is alone. </p><p>She nearly steps onto the first stair... </p><p><span class="u">PHILIPPE:</span> My son appears to have gone missing. Do you know where he is?</p><p>Diana jumps and jerks around. </p><p>She tries to hide her reaction from Philippe but he's already seen it. </p><p><span class="u">DIANA:</span> He's gone looking for the manuscript we told you about. And I would appreciate it if you didn't sneak up on me like that. It's not very polite.</p><p><span class="u">PHILIPPE:</span> Please forgive me. Frightening you was not my intention. </p><p><span class="u">DIANA:</span> You didn't frighten me.</p><p><span class="u">PHILIPPE:</span> If a vampire sneaking up behind you doesn't frighten you madam, then I'm afraid you are suicidal or a fool. </p><p>Diana bites back a retort.  </p><p><span class="u">PHILIPPE:</span> Matthew's tower. Do you not already know what you would find up there?  </p><p>Diana has no answer. </p><p><span class="u">PHILIPPE (CONT'D):</span> You do not know Matthew as well as you should do if you truly plan to marry him. </p><p><span class="u">DIANA:</span> I don't know him as well as you do, certainly. We've only known each other a few months but still I know that I love him and I will love him forever. That's enough for me.</p><p><span class="u">PHILIPPE:</span> Love is not enough to sustain a marriage. Not if you're not sharing your souls.</p><p><span class="u">DIANA:</span> Matthew and I haven't had the liberty of soul sharing. We were hunted from the very moment we first met so there wasn't exactly time for dating. </p><p><span class="u">PHILIPPE</span>: Dating? </p><p><span class="u">DIANA:</span> We didn't have a courtship. Naively I thought we would be safe enough in the 16th century to spend more time together, to get to know each other, but it turns out the past is just as ugly as the future. </p><p>Philippe considers this. </p><p><span class="u">PHILIPPE</span>: Matthew lied to you. He isn't looking for your book, he went to the village church. I might follow him, were I someone who wanted to get to know him better.</p><p>Philippe gives Diana a conspiratorial look. </p><p>He walks back down the hall.</p>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff">
          <p>Hi guys :) I know it's been a while but as promised this is the new chapter! Hope you all liked it and again please leave a kudos or a comment, I love hearing form you guys.</p>
        </blockquote></div></div>
<a name="section0006"><h2>6. Act 5</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff"><p>I just wanted to chuck a quick warning here, this chapter is the big one that I've put all of the warnings on for. Those who have read the books will know what we're talking about but yeah basically there is mention of suicide, assisted suicide, self-harm and miscarriage in this chapter so please be warned and if you don't feel comfortable with it then maybe don't read this chapter.</p></blockquote></div><div class="userstuff module">
    
    <p>
  <strong>INT. THE VILLAGE CHURCH OF SAN LUCIAN. 1590. DUSK.</strong>
</p>
<p><br/>The church is empty and open as it does not have pews. To the front of the church there is an alter and crucifix at the centre, a statute of saint Joseph to the left and a statue of Madonna and child to the right.</p>
<p>Diana enters the church, finding Matthew kneeling, head bowed, to the left of the altar before the statue to St Joseph. </p>
<p><span class="u">DIANA:</span> Matthew. Philippe said I would find you here.</p>
<p>Matthew doesn't look around. He stares fixedly at the floor in front of him.  </p>
<p>Diana stands behind him. </p>
<p><span class="u">DIANA:</span> We need to talk Matthew. Maybe we should head back to the chateau.</p>
<p><span class="u">MATTHEW:</span> Philippe never comes in here, it's the only place we'll be able to talk privately.</p>
<p><span class="u">DIANA:</span> Okay then.</p>
<p>Diana sits down cross-legged. </p>
<p><span class="u">DIANA:</span> What's on your mind Matthew? </p>
<p>Beat. </p>
<p><span class="u">MATTHEW:</span> Today is my son's birthday. He's buried here with his mother.<br/>Matthew presses two fingers on the spot on the floor he's been staring at. His fingers fit perfectly into grooves indented on the floor. </p>
<p><span class="u">DIANA:</span> Lucas.</p>
<p>Matthew tilts his head slightly, still not looking at her, questioning how Diana knows the name. </p>
<p><span class="u">DIANA:</span> Ysabaeu told me about him and Blanca.</p>
<p><span class="u">MATTHEW:</span> She shouldn't have. They belonged to me, not to her.</p>
<p><span class="u">DIANA:</span> I'm glad that she did. I need to know your past Matthew. It's shaped who you are.</p>
<p>Beat. It's almost like he might not respond. </p>
<p><span class="u">MATTHEW</span>: I can still remember the night he was born. He was so pale that when the midwife held him up in the darkness, his skin caught the light of the fire the same way the moon catches the light from the sun. That's why we called him Lucas, it's Greek for 'Bright one.' Philippe suggested it. Strange how after so many years my memory of that night is still clear.</p>
<p>Matthew smiles lightly at the memory. </p>
<p>Diana takes this smile as a good sign. </p>
<p><span class="u">DIANA:</span> How did you meet Blanca? </p>
<p><span class="u">MATTHEW:</span> I threw snowballs at her during her first winter in the village. She was so delicate, beautiful. I would have done anything to get her attention. <br/>(short pause) I remember she liked berries. I used to pick them for her from the hedge outside the church. Philippe would notice the stains from their juice on my fingers and predict that we'd be wed by autumn.</p>
<p><span class="u">DIANA:</span> I take it he was right.</p>
<p>Matthew's smile fades. </p>
<p><span class="u">MATTHEW:</span> We wed in October. Blanca was already two months pregnant. Blanca had always been...impressionable. She had learned to give in to what someone older, stronger and meaner wanted. I was all of those things, so whenever I wanted her to say yes, she did. </p>
<p>Beat. </p>
<p>Matthew shakes his head. </p>
<p><span class="u">MATTHEW</span>: It needn't have mattered. God decided to take the baby before it was even born. Just as he did with the next one....and the next one...and the next one...<br/>Matthew trials off, dropping his head in his hands. </p>
<p><span class="u">MATTHEW (CONT'D):</span> Every time I would promise her that the babe would survive and every time I would see the pain in her eyes as I failed her. Her entire life Blanca had wanted a child. I would have given anything... </p>
<p>Beat.</p>
<p><span class="u">DIANA:</span> And then there was Lucas. </p>
<p><span class="u">MATTHEW</span>: Yes. After years of filling her with death, I gave her Lucas. A part of me died when he did. It was the same for Blanca, but her body followed only a few days later.</p>
<p><span class="u">DIANA:</span> It was an epidemic Matthew. There's nothing you could have done.</p>
<p><span class="u">MATTHEW:</span> I could have stopped myself from having her! Then there would have been nobody to lose. </p>
<p>Beat. A thought occurs to Diana.</p>
<p><span class="u">DIANA:</span> Ysabeau told me that she found you half dead on the floor of this church. She said that no one knew if you fell or if you jumped.</p>
<p>Matthew looks up at the nave. </p>
<p><span class="u">MATTHEW:</span> I had been thinking of joining Blanca and Lucas for weeks but I was worried that they would be in heaven and God would keep in hell for my sins. But then I was up on the scaffolding, building the nave, and I looked down at where they were buried, and I thought perhaps I had trapped their souls there under the floor. I thought that if I died with them, God might have no choice but to release them. That or let me join them, wherever they were.</p>
<p>Matthew looks back at Diana. </p>
<p><span class="u">MATTHEW</span>: I tried to give my own life, but God didn't want it.</p>
<p><span class="u">DIANA:</span> Oh, Matthew.</p>
<p><span class="u">MATTHEW:</span> I was so tired, and weak. Far too weak to be worthy of someone as brave as you.</p>
<p><span class="u">DIANA:</span> What? Matthew no...</p>
<p>She tries to console him and place a hand upon his shoulder. </p>
<p>He shakes it off. </p>
<p><span class="u">MATTHEW:</span> Philippe knows it that's why he's trying to keep us apart.</p>
<p><span class="u">DIANA:</span> No, your father loves you.</p>
<p>Matthew vehemently shakes his head. </p>
<p><span class="u">MATTHEW</span>: 'Brave men don't commit suicide except in battle.' I overheard him tell Ysabeau so shortly after she sired me. He told her that I lacked the courage to be a vampire. As soon as he could, he sent me away to fight in a war. He said 'if you're determined to end you own life at least it can be for some greater purpose than self-pity.'</p>
<p><span class="u">DIANA:</span> You've been torturing yourself with these memories for so long that you can't see the truth anymore. You were sick and grieving, not weak. And what happened to Blanca and Lucas was not your fault. You have to put this behind you eventually or it will drive you insane. </p>
<p>Matthew nods absent-minded. </p>
<p>He goes back to staring at the grave.</p>
<p>She kisses him on the head. </p>
<p><span class="u">DIANA:</span> I'll be waiting for you at home when you're ready. </p>
<p>Diana stands up and begins walking back down the church.  </p>
<p><span class="u">MATTHEW:</span> There's more. </p>
<p>Diana turns back around. </p>
<p>Matthew is looking at her. </p>
<p><span class="u">MATTHEW:</span> You want to know me? You want me to share my darkest secret?</p>
<p>Diana slowly nods and returns to her spot behind him.</p>
<p><span class="u">MATTHEW:</span> I killed him.</p>
<p><span class="u">DIANA:</span> Who?</p>
<p><span class="u">MATTHEW:</span> Philippe.</p>
<p>Beat. </p>
<p><span class="u">DIANA:</span> I thought...the witches...</p>
<p>Matthew shakes his head.</p>
<p><span class="u">MATTHEW:</span> He was captured and tortured by witches. They were working with the Nazis,running experiments on how much the vampire body could take before expiring. The Knights of Lazarus managed to rescue him but...</p>
<p> </p>
<p>
  <strong>INT. FIELD HOSPITAL SHACK. DAY. 1944.</strong>
</p>
<p><span class="u">MATTHEW (CONT'D)(V.O.):</span> ...it was too late. He had been driven insane with pain and deprivation. He was a broken shell of a man. He wasn't Philippe anymore.</p>
<p>Philippe, lying on the camp bed opens his eyes. </p>
<p>Ysabeau is ecstatic, she's crying as she takes his face in her hands. </p>
<p>He looks into her eyes, emotionless. </p>
<p>He tries to raise his hand to her face but doesn't have the energy. </p>
<p>He looks around at the others in the room impassively.  </p>
<p> </p>
<p>
  <strong>INT. SEPT-TOUR. Kitchen. CIRCA. 1944.</strong>
</p>
<p>Philippe, determined expression and shaking hands, stabs a large butcher knife into his chest.</p>
<p>He screams. </p>
<p>Ysabeau runs into the room.</p>
<p><span class="u">YSABEAU:</span> Philipos! </p>
<p>She pulls the knife out of his chest. She drops it the floor with a clang. </p>
<p>Philippe starts wailing, clutching at the wound. </p>
<p><span class="u">PHILIPPE:</span> Aide moi mon amour! (Help me my love!) </p>
<p> </p>
<p>
  <strong>INT. SEPT-TOUR. PHILIPPE'S OFFICE. CIRCA 1944. </strong>
</p>
<p>Matthew steps cautiously into the blood soaked room. </p>
<p>Philippe is kneeling, crouched over, in the middle of the room.</p>
<p>He shakes terribly, crying, blade poised over his right wrist. </p>
<p><span class="u">MATTHEW (V.O.):</span> We kept finding him shaking maniacally in pools of his own blood. He would try to cut his own wrists but he couldn't hold the knife securely enough and the wounds were too shallow and healed quickly. The more blood he shed the wilder he became, he couldn't stand the sight of it after what they'd done to him. </p>
<p> </p>
<p>
  <strong>INT. THE CHURCH OF SAN LUCIAN. 1590</strong>
</p>
<p><span class="u">MATTHEW (CONT'D):</span> Perhaps someone else could have persuaded Philippe to fight, that there was hope for some kind of life after everything he'd endured. But...Philippe said he was too tired to fight, that he just wanted to sleep and I...I knew what it was to want to close your eyes and forget. God help me, I did what he asked.</p>
<p>Matthew is shaking intensely.  </p>
<p> </p>
<p>
  <strong>INT. SEPT-TOUR. PHILIPPE'S OFFICE. CIRCA. 1944.</strong>
</p>
<p>Matthew bites into Philippe's neck. Draining him. </p>
<p>Philippe goes limp in his arms.  </p>
<p><span class="u">MATTHEW (V.O.)</span>: His last thoughts were of Ysabeau. They were the only memories that were still whole, still his.</p>
<p> </p>
<p>
  <strong>INT. THE CHURCH OF SAN LUCIAN.1590.</strong>
</p>
<p>Diana wraps her arms around him. </p>
<p><span class="u">MATTHEW:</span> You asked me who I was at the Old Lodge. I'm a killer, Diana. I've killed thousands, but I've never had to look any of them in the face again. (short pause) How can you bare to look at me right now?</p>
<p><span class="u">DIANA:</span> I love all of you, Matthew: warrior and scientist, killer and healer, dark and light. Philippe couldn't have gone on like that. </p>
<p>They sit there holding each other for a moment.</p>
<p><span class="u">MATTHEW:</span> Diana?</p>
<p><span class="u">DIANA:</span> Yes?</p>
<p><span class="u">MATTHEW:</span> Thank you for hearing my confession.</p>
<hr/>
<p>
  <strong>INT. SEPT-TOUR. HALLWAY. NIGHT </strong>
</p>
<p><br/>Diana walks along the hallway to find Philippe standing outside her bedroom door. </p>
<p>He's waiting for her. </p>
<p><span class="u">PHILIPPE:</span> Did you find him? </p>
<p><span class="u">DIANA:</span> Yes. You should have told me it was Lucas' birthday.</p>
<p><span class="u">PHILIPPE:</span> Good. He told you then. You'll learn to anticipate these black moods of his when he is reminded of his family. </p>
<p><span class="u">DIANA:</span> It wasn't just Lucas. </p>
<p>Philippe looks at Diana. </p>
<p>Beat. </p>
<p>He sighs. </p>
<p><span class="u">PHILIPPE:</span> He told you of his death. I fear I will never understand him. His grief I can comprehend of course, but not this guilt, nor his inability to move forward. When will he move on from the past? </p>
<p><span class="u">DIANA:</span> Perhaps he just needs your patience, and the freedom to fight his own demons. </p>
<p><span class="u">PHILIPPE:</span> No. He is my son. I will not fail him.   </p>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff">
          <p>Alright so I know this chapter is a little more intense then usual but how did you guys like the chapter? i hope it doesn't too much.  </p>
<p>Please let me know below and leave a kudos or a comment if you liked it.</p>
        </blockquote></div></div>
<a name="section0007"><h2>7. Act 6</h2></a>
<div class="story"><div class="userstuff module">
    
    <p><span class="u">CATARINE:</span> Madam! Madam Wake up! </p><p>
  <strong>INT. SEPT-TOUR. LOUSIA'S BEDROOM. 1590. DAWN </strong>
</p><p>Diana wakes to a frazzled Catarine shaking her. </p><p><span class="u">CATARINE:</span> Quickly madam! It is Sieur and mi'Lord Matthew. They are fighting in the haybarn. </p><p>Diana leaps out of bed. </p><p>She grabs a dressing gown that is hung over a chair on her way out. </p><p><strong>INT. SEPT-TOUR. HAYBARN. MOMENTS LATER.</strong> </p><p>Diana pushes her way through a gathered crowd of work men screaming, cheering and placing bets. </p><p>Matthew and Philippe are engaged in a violent fencing match in the centre of the crowd.<br/>It is clear that the pair of them have been at this for quite some time. Their shirts are badly torn and there are slashes of blood all over their clothing.</p><p><span class="u">MATTHEW:</span> Christ! You drive me insane!</p><p>Philippe laughs.</p><p><span class="u">PHILIPPE:</span> "Those whom the Gods seek to destroy they first make mad."</p><p>The quote distracts Matthew. </p><p>Philippe takes advantage of this distraction to strike the blade down on the back of Matthew's knees. </p><p>Matthew screams in pain and buckles a bit. Blood can be seen welling from that spot. </p><p>Matthew is up again quickly and charges at Philippe. He successfully pierces the sword straight through Philippe's arm and seems to relish in Philippe's pain. We can see his eyes begin to turn somewhat more manic and darker than usual. </p><p>Matthew pulls the sword back out of Philippe's arm, eliciting a further scream.</p><p>Matthew laughs. </p><p><span class="u">MATTHEW:</span> "Don't consider painful what's good for you."</p><p><span class="u">PHILIPPE:</span> I knew I would regret teaching you English.</p><p>The pair continue to spar and their unique fighting styles become more apparent. Where Philippe's moves seem to be more calculated, focusing on preservation rather than aggression, Matthew's style becomes more frantic with every step. </p><p>Each swipe Philippe dodges causes him to become more impulsive, attacking without forethought.</p><p><span class="u">PHILIPPE:</span> Your technique is wild today. Why It's almost as if you're distracted. </p><p>Matthew charges at Philippe. They continue fighting. </p><p>Matthew is too engrossed in the fight to notice Diana but Philippe spies her. </p><p><span class="u">PHILIPPE:</span> Ah, Diana. So glad you could join us.</p><p><span class="u">MATTHEW:</span> Diana?</p><p>Matthew whips around and see her. His eyes are jet black. </p><p>Matthew straightens up and makes to move toward Diana.  </p><p>Philippe slaps the blunt side of his sword down upon Matthew's sword hand. Matthew groans in pain as the sword falls from his grip.</p><p>Matthew turns back to Philippe. Philippe grabs him by the throat and shoves him roughly against the wall. </p><p>Philippe pushes Matthew's head up to fit his sword against Matthew's jugular. </p><p>The crowd quietens.</p><p><span class="u">PHILIPPE:</span> I taught you better than this Matthaios. You never think. You never blink. You never breath. All you do is react. Come here Diana.</p><p>She steps forward uncertainly, called into the spotlight. She stops in the centre of the hay barn, a few feet from Matthew and Philippe. </p><p>Matthew watches her, wild-eyed, barely contained by Philippe.  </p><p>Philippe jerks his head back in Diana's direction. </p><p><span class="u">PHILIPPE:</span> Is she why you lost? </p><p><span class="u">MATTHEW:</span> Let me go! </p><p>Matthew jerks his head forward, attempting in vain to break Philippe's hold. Blood appears where the sword bites his neck. </p><p>Diana watches on in concern. </p><p>Some object flies past her ear making her gasp, It narrowly misses her flesh.</p><p>She turns to discover Philippe's blade wedged into the wall behind her ear. </p><p><span class="u">PHILIPPE:</span> You let yourself get distracted! If my aim were a little worse she'd have lost an ear! </p><p><span class="u">MATTHEW:</span> Let me go!    </p><p>Philippe tightens his grip on Matthew's throat. He unsheathes the dirk strapped to his thigh and jabs it into Matthew's leg to the hilt. </p><p>Matthew screams.    </p><p><span class="u">PHILIPPE:</span> Pay attention to the man with a blade to your throat or both of you will wind up dead! That ring on her finger? Do you truly know what it promises?</p><p><span class="u">MATTHEW:</span> My whole life, and the end of it. And a warning to remember the past.</p><p>Philippe rolls his eyes.</p><p><span class="u">PHILIPPE:</span> It's always the dark with you and never the light.</p><p>Philippe rearranges their positioning, holding Matthew in front of him in a headlock with Matthew desperately thrashing to escape it. They are facing Diana now.</p><p><span class="u">PHILIPPE</span>: Step closer Diana. I want to show you something. </p><p>Diana tentatively steps towards them. </p><p>She eyes Matthew wearily.</p><p><span class="u">PHILIPPE</span>: Come on. It's perfectly safe.</p><p>Diana stops about a foot away from them. </p><p><span class="u">PHILIPPE:</span> Do you see his eyes? Notice how black they are. </p><p><span class="u">DIANA:</span> Yes. </p><p><span class="u">PHILIPPE</span>: We call it blood rage. Many of Ysabeau's children are afflicted with it. In essence, those black eyes are the wolf in him trying to escape and kill its prey...you. </p><p><span class="u">DIANA:</span> Matthew would never hurt me. </p><p><span class="u">PHILIPPE:</span> Eleanor St Leger said the same thing once. Matthew loved her too, didn't you Matthew? Then one day he gets into a fight with Baldwin and she happens to be a witness. It only took one small comment, one mere suggestion that she agreed with Baldwin over him and Matthew's jealousy got the better of him. We buried her mangled body the next day.</p><p>Matthew breaks the headlock and shoves Philippe against the wall, his hand wrapped around Philippe's neck. </p><p>Philippe has his dirk pressed against Matthew's chin. </p><p>Diana goes to step forward...</p><p><span class="u">PHILIPPE:</span> Don't come any closer Diana. As for the rest of you, the show is over. Return to your work. </p><p>The onlookers disperse. </p><p><span class="u">PHILIPPE:</span> Scio Matthew. (I know Matthew)</p><p>Philippe deliberately raises his blade by the tips of his fingers and drops it to the ground. The clatter echoes around the haybarn.</p><p>Matthew shakes his head. </p><p><span class="u">PHILIPPE:</span> Did you hear me Matthew? I know my future. </p><p><span class="u">MATTHEW:</span> No...No you can't know. </p><p><span class="u">PHILIPPE:</span> Your furtive, distracted, behaving the same way you always do when your remorseful. </p><p>Beat. </p><p><span class="u">PHILIPPE (CONT'D):</span> You would have beaten this curse if you could. Te absolve Matthew.(I forgive you.)</p><p>Philippe wraps his arms around a shocked Matthew.</p><p>Matthew soon returns the hug and buries his head in Philippe's shoulder.  </p><p><span class="u">MATTHEW:</span> I'm so sorry. I'm so, so sorry. </p><p>Philippe pulls away to look Matthew in the eyes. </p><p><span class="u">PHILIPPE:</span> And I have forgiven you. Now you must put it behind you. Leave it in the past, where it belongs. You need to stop regretting your life Matthaios and start living it.</p><p>Beat. Matthew's eyes are no longer black.  </p><p><span class="u">PHILIPPE (CONT'D)</span>: You can come to him now Diana.</p><p>Diana immediately runs to Matthew. </p><p>He hooks her into his arms and buries his face against her for comfort. </p><p>Over his shoulder Diana see Philippe discreetly leave the haybarn. </p><p><span class="u">MATTHEW:</span> Are you afraid of me?</p><p><span class="u">DIANA:</span> I've told you before Matthew, You can't frighten me off.</p><hr/><p>
  <strong>EXT. A MODERN ENGLISH APARTMENT BLOCK. PRESENT. TWILIGHT. </strong>
</p><p>We see through the window into an apartment on the upper storey of a complex, the curtains are drawn back giving us a clear view into the white-walled living room. </p><p>We see the back of a man's head as he sits on the couch leaning forward slightly. We might see his shoulders shake. </p><p>The TV is playing something of no consequence in the background, drowned out by the noise of traffic.  <br/>THE CAMERA FLIES US INTO THE ROOM.</p><p>
  <strong>INT. A MODERN ENGLISH APARTMENT. LIVING ROOM. PRESENT. TWILIGHT. </strong>
</p><p>A man (the vampire murderer) is crying, the sound audible now that we are in the room. He is staring at his hands which are laying, palms up, in his lap and soaked with blood. </p><p>We circle around him, surveying. </p><p>A man's body is laying on the rug before him, his neck terribly mangled and bloody. As we continue to circle the room we come to face the murderer. He is a young man, early twenties, tall and skinny, with ratty blonde hair that currently has blood spattered in it. His mouth is also covered with blood making it clear that he is a vampire. </p><p>His gaze moves from his soaking hands to the mangled body before him.</p><p><span class="u">VAMPIRE MURDERER:</span> I'm sorry. I'm so terribly, terribly sorry.</p><p>The murderer falls from the couch onto his knees on the floor. </p><p>He grasps the dead man's head in his hands, looking into his eyes.</p><p><span class="u">VAMPIRE MURDER:</span> I'm sorry, I'm sorry, I'm so very sorry.</p><p>The murderer's breath is shaky. He puts the body down.  </p><p>He closes the dead man's eyes and smooths out the matted, bloody hair. </p><p>The murderer crawls to the white, left wall. He sits with his back pressed against it. </p><p>He looks at the dead man again, committing this scene to memory.</p><p>He takes the black piece of chalk from the floor beside him. </p><p>He turns to the wall. </p><p>He begins sketching out the dead man's face on the wall.   </p><p>AS HE CONTINUES TO WORK THE CAMERA PANS OUT REVEALING THE WALL IS QUICKLY BEING FILLED UP WITH CHALK DRAWN FACES.</p><p> </p><p>
  <strong>THE END </strong>
</p>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff">
          <p>So that's the end of the fic script :) Hope you guys like it, please leave a kudos or a comment with feedback/your thoughts on the fanfic or your hopes for the next season of the show or Debs WIP.</p>
        </blockquote></div></div>
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